What is *How to Fly a Horse* by Kevin Ashton about?

*How to Fly a Horse* debunks the myth of innate creative genius, arguing that innovation arises from ordinary, incremental efforts. Kevin Ashton uses historical examples—like the Wright brothers and Rosalind Franklin—to show how collaboration, persistence, and problem-solving drive breakthroughs. The book emphasizes that creativity is a universal skill accessible through hard work, not a rare gift.

Who should read *How to Fly a Horse*?

This book is ideal for entrepreneurs, artists, educators, and anyone seeking to demystify creativity. Ashton’s insights are valuable for teams aiming to foster innovation, individuals facing creative blocks, or readers interested in historical case studies of invention. Its practical advice applies across industries, from technology to the arts.

Is *How to Fly a Horse* worth reading?

Yes—readers praise it as a compelling blend of inspiration, history, and actionable advice. Reviewers highlight its fresh perspective on creativity, calling it “one of the best books you haven’t read” for its balance of storytelling and practical frameworks. It’s particularly recommended for skeptics of the “lone genius” narrative.

How does Kevin Ashton redefine creativity?

Ashton defines creativity as an ordinary, iterative process involving problem-solving and persistence. He rejects the idea of “eureka moments,” arguing that breakthroughs like the Wright brothers’ airplane or DNA discovery resulted from accumulated small steps, not innate talent. Creativity, he asserts, is a universal human trait.

What role does failure play in *How to Fly a Horse*?

Failure is framed as essential to innovation. Ashton illustrates how setbacks provide critical feedback, using examples like Thomas Edison’s repeated experiments and Rosalind Franklin’s perseverance in DNA research. The book encourages viewing failure as a necessary step toward solutions, not a final outcome.

What historical examples support Ashton’s thesis?

Key examples include: - **The Wright Brothers**: Their iterative approach to flight, testing wing shapes and controls. - **Edmond Albius**: A 12-year-old enslaved boy who revolutionized vanilla pollination. - **Rosalind Franklin**: Her foundational but overlooked DNA research. These cases underscore collaboration and incremental progress.

What is the “creativity myth” Ashton challenges?

The myth claims creativity is a rare, innate gift reserved for “geniuses.” Ashton argues this belief stifles innovation by discouraging ordinary people from pursuing ideas. He contrasts this with real-world examples of creators who succeeded through systematic effort rather than divine inspiration.

How does Ashton emphasize collaboration in creativity?

The book highlights how innovations—from the first airplane to DNA’s discovery—rely on building others’ work. Ashton stresses that no creation happens in isolation, citing teams like Jobs and Wozniak at Apple and the collaborative nature of scientific research.

L'arte di inventare il cavallo alato

La Storia Segreta della Creazione, dell'Invenzione e della Scoperta

Kevin Ashton

4.01(2193 Reviews)

Panoramica di L'arte di inventare il cavallo alato

Dimentica il mito del "genio creativo". "How to Fly a Horse" rivela la creatività come un lavoro ordinario e accessibile che richiede persistenza attraverso il fallimento. La prospettiva rivoluzionaria di Kevin Ashton ha ispirato innovatori in tutto il mondo. E se la tua prossima svolta stesse semplicemente aspettando il tuo sforzo paziente e determinato?

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Le stesse idee di L'arte di inventare il cavallo alato. Scegli la voce, la profondità e il ritmo adatti a te. Cambia in qualsiasi momento.

Capitolo 1

The Myth of Magical Creation: How Innovation Really Works

In 1815, a forged letter attributed to Mozart claimed he composed masterpieces effortlessly in his mind. This myth persists despite evidence that Mozart worked hard, revised constantly, and needed instruments to compose. The romantic notion that creativity requires genius and comes through magical inspiration rather than effort and error continues to influence how we think about innovation. The term "creativity" itself wasn't coined until 1926 by Alfred North Whitehead, cementing the idea that creating is magical rather than work-based. This mythology suggests only rare individuals can create, and for them it comes easily through dramatic flashes of insight. Yet the reality of creation contradicts this myth entirely. Kevin Ashton's own experience inventing the "Internet of Things" came not through magical inspiration but through thousands of hours of work, politics, mistakes, and perseverance while trying to solve a practical problem at Procter & Gamble. The truth is that creating is ordinary, not magical. Everyone can create, but there are no shortcuts-only persistent work despite doubt, failure, and rejection. This book has become a favorite among entrepreneurs and innovators precisely because it dismantles the harmful myths that prevent most people from recognizing their creative potential.

Capitolo 2

Creation Is Everyone's Birthright

On Reunion Island in the Indian Ocean stands a bronze statue of a twelve-year-old African slave boy named Edmond Albius, his hand curled as if about to flip a coin. This gesture represents his world-changing innovation-a simple hand-pollination technique for vanilla that solved a centuries-old problem. Before Edmond's 1841 discovery, no one outside Mexico could successfully grow vanilla because the specific Mexican bee needed for pollination didn't exist elsewhere. Using just a bamboo toothpick, Edmond developed "le geste d'Edmond," gently pinching together the flower's pollen-bearing anther and stigma. His technique transformed the global vanilla industry and continues to be used worldwide today. What makes Edmond's story unusual isn't his innovation but that he received credit for it. Most creators throughout history remain anonymous. Before the Renaissance, concepts like authorship and inventorship barely existed. Recognition for creators began emerging around 1200 CE, accelerating during the Renaissance. The evidence of widespread creativity appears in patent statistics: the U.S. Patent Office granted its first patent in 1790 and its eight millionth by 2011, representing over six million unique inventors. Each million inventors has taken progressively less time-from 130 years for the first million to just 8 years for the sixth million. Similarly, copyright registrations grew from 5,600 in 1870 to over 600,000 by 1991, while scientific papers increased tenfold between 1955 and 2005. This data reveals a profound truth: creation isn't limited to an elite few. When we start counting creators, we find they're everywhere-nearly as many Americans received first patents in 2011 as attended a typical NASCAR race. Creation surrounds us completely, affecting everything from our life expectancy to our way of life. Innovation is what makes our species different and dominant-not our brain size, but our drive to make things better. The evolutionary niche of new belongs to all humans, not just a privileged few. The Renaissance belief that creativity belongs only to geniuses persisted until the mid-twentieth century, when early brain studies suggested everyone can create. Allen Newell proposed the radical idea that "creative thinking is simply a special kind of problem-solving behavior"-no genius required. If genius were truly required for creativity, we should be able to identify creative ability in advance. Lewis Terman tried this in 1921 with his "Genetic Studies of Genius" experiment, tracking over 1,500 California children identified as "gifted" by his Stanford-Binet IQ test. Yet many of these "Termites" found ordinary jobs, while those he excluded-like William Shockley and Luis Alvarez-went on to win Nobel Prizes in physics. The evidence is clear: genius does not predict creative ability because it is not a prerequisite for creation.

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Capitolo 3

The Ordinary Steps of Extraordinary Innovation

Creation emerges from ordinary acts that accumulate into extraordinary outcomes. When we examine stories of creation closely, we find people like us doing things we can do. The soul of creation isn't magic or genius-it's work. Hard, unglamorous work: getting up early, turning down social invitations, writing and rewriting, staring down blank pages, and persisting through doubt. Karl Duncker, a psychologist who fled Nazi Germany for America, revolutionized our understanding of how humans solve problems. Rejecting studies of great thinkers as like studying lightning instead of "little sparks," Duncker used simple problems to reveal the universal mechanics of thought. His radical approach-observing people thinking aloud while solving problems-revealed that human thought follows the same process regardless of the thinker's background, intelligence, or the problem's complexity. Robert Weisberg's research, building on Duncker's Box Problem (now often called the Candle Problem), revealed that thinking proceeds in steps, not leaps. By having people verbalize their thoughts while solving problems, Weisberg showed that everyone who arrived at solutions followed a similar pattern: they first tried familiar approaches, evaluated them, and gradually worked toward solutions through incremental steps. There was no sudden perceptual shift or "aha moment"-just ordinary thinking proceeding methodically from known to new. Despite evidence that creation comes from ordinary thinking, many psychologists and writers maintain that breakthroughs emerge from extraordinary "aha! moments" or "eureka effects." Famous examples like Archimedes' "Eureka!" moment in the bath, Coleridge's claim that "Kubla Khan" came from a dream, and Kekule's vision of a snake biting its tail are frequently cited but don't withstand scrutiny. Studies attempting to validate "incubation" theory have consistently failed. The Wright brothers' invention of the airplane exemplifies how creation happens through small steps, not great leaps. Their journey began after reading about Otto Lilienthal's fatal glider crash in 1896. As bicycle mechanics, they recognized that aircraft, like bicycles, faced a problem of balance rather than motion. Their process involved countless small steps and corrections-building their own wind tunnel to gather accurate measurements, correcting aerodynamic coefficients, and designing propellers as rotating wings rather than boat propellers. Their aircraft designs show clear evolution-each model built incrementally on the previous one, proving they took steps, not leaps. Art creation follows the same step-by-step process as engineering. Wassily Kandinsky's "Painting with White Border" exemplifies this truth. Though the finished painting appears spontaneous, Kandinsky spent five months meticulously planning every stroke, developing twenty sketches before touching the final canvas. X-ray analysis reveals the difference between process and result: while his early sketches show multiple layers of rework, the final painting shows no hesitation-after five months of preparation, Kandinsky executed it with perfect certainty.

Capitolo 4

Persistence Through Rejection and Adversity

In 1994, five-year-old Jennifer faced a deadly recurring tumor that conventional medicine couldn't cure. Her last hope was Judah Folkman, a researcher with a controversial theory that tumors create their own blood supply and could be destroyed by cutting off this access. Despite his surgical experience showing tumors as "hot and red and bloody," Folkman faced brutal rejection. Scientific journals refused his papers, grant committees denied funding, and colleagues called him "crazy" and "a charlatan." The Children's Hospital board cut his salary and ended his surgical career. Yet Folkman persisted through "repetitive failures" until a contaminated experiment revealed a fungus that blocked blood vessel growth-the breakthrough that eventually saved Jennifer's life when conventional treatments had failed. Creation follows no shortcuts. The path resembles a maze-easy to enter but difficult to navigate. Creation demands endurance, not inspiration. Most creative work involves monotony and failure, with countless wrong turns and dead ends. James Dyson built over 5,000 prototypes before creating his successful vacuum cleaner. As he says, "I'm a huge failure because I made 5,126 mistakes." Persistence transforms failure into progress. Time is creation's essential raw material. When a Hungarian psychology professor contacted 275 famous creators for interviews, two-thirds declined, citing lack of time. Creators understand that every "yes" costs creative output. Creation demands total dedication-"all day, every day. It knows neither weekends nor vacations." Learning to say no preserves the precious time needed for creation. As Charles Dickens wrote when declining an invitation: "Whoever is devoted to an art must be content to deliver himself wholly up to it." Ignaz Semmelweis discovered that doctors were causing puerperal fever by not washing hands between handling cadavers and delivering babies. Despite implementing hand-washing that dramatically reduced mortality rates from 18% to 2%, the medical establishment rejected his findings. His peers dismissed his ideas for lacking theoretical explanation, with one doctor insisting "a gentleman's hands are clean." Without understanding why hand-washing worked, doctors abandoned the practice after Semmelweis lost his job. He died in a mental asylum, beaten and forgotten. Rejection is inevitable for creators-it's an evolutionary reflex designed to protect us, not a personal attack. At its best, rejection provides valuable information about what to improve. The best creators understand that pride can be destructive when facing rejection-our ego doesn't want to hear "no," pushing us to seek quick solutions and overnight success. Success depends not on intelligence or talent but on how we respond to the adversity inherent in creation. The world resists change by design.

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Capitolo 5

How Perception Limits Discovery

In June 1979, pathologist Robin Warren discovered bacteria in a patient's stomach-something medical dogma claimed was impossible due to stomach acidity. Despite colleagues' skepticism, Warren quietly collected evidence for two years until gastroenterologist Barry Marshall joined his research. They found these bacteria (later named Helicobacter pylori) in 90% of ulcer patients. Though their 1984 letter to The Lancet faced rejection from reviewers, the editor published it anyway. Warren and Marshall later won the Nobel Prize for proving H. pylori causes ulcers, revolutionizing treatment. The remarkable aspect was that these bacteria weren't invisible-thousands of pathologists had seen but dismissed them because they contradicted established medical "facts." Warren simply trusted his eyes over textbooks, while others had been documenting but misinterpreting the same bacteria since 1875. Our brains heavily filter what we perceive through "inattentional blindness"-ignoring unexpected information that doesn't fit our mental framework. The visual pathway compresses retinal information by a factor of 3,000 before reaching decision-making centers, with the brain selecting what matters based on prior knowledge and assumptions. Studies demonstrate this effect: pedestrians on phones fail to notice unicycling clowns, and radiologists miss gorilla images inserted into lung X-rays despite looking directly at them. Expert perception works through "selective attention"-focusing efficiently on significant things at crucial moments. De Groot's chess studies revealed grandmasters evaluate fewer moves than lesser players yet make better decisions. They think more efficiently, eliminating poor solutions before conscious awareness. When shown chess positions briefly, grandmasters don't memorize pieces but infer their positions through experience-based pattern recognition. Expertise is efficiency, but this selective attention can also blind us to unexpected possibilities. Becoming creative requires first becoming an expert, then taking the surprising second step: becoming a beginner again. In 1960, Shunryu Suzuki arrived in San Francisco to lead the Sokoji temple, inviting curious Americans to join his 5:45 AM meditation sessions. His teachings on "beginner's mind" (shoshin) became influential through his book "Zen Mind, Beginner's Mind." Beginner's mind isn't the mind of a novice but of a master who notices everything without assumption-seeing what's actually there rather than what we think. As Suzuki taught: "In the beginner's mind there are many possibilities, but in the expert's there are few." Seeing differs fundamentally from looking. Our knowledge shapes what we see as much as seeing shapes our knowledge. Though we want to believe we perceive reality fully and accurately, this comforting assumption isn't true. The line between eye and mind is where perception becomes understanding, and creating means opening this border. Beginner's mind and expertise aren't opposites but connected: true experts understand their paradigm's constraints and assumptions.

Capitolo 6

The Hidden History of Scientific Credit

In April 1958, Rosalind Franklin was buried in London while her model of the tobacco mosaic virus was displayed at the World's Fair. She died of cancer at just thirty-seven, after dedicating her work to understanding life's mechanics. Though initially remembered for her virus work, Franklin's true contribution to humanity-her pioneering work on DNA structure-remained hidden, stolen by three men who would later claim the glory for themselves. James Watson, Francis Crick, and Maurice Wilkins raced to discover DNA's structure while Franklin, Wilkins' colleague at King's College, worked methodically, believing racing led to hasty science. Her true disadvantage, however, was being a woman. Despite placing first in Cambridge's chemistry entrance exam, Franklin couldn't become a university member or earn a degree-women were merely "students of Girton and Newnham Colleges." Science systematically oppressed women. Britain's Royal Society excluded women for nearly 300 years until admitting the first females in 1945. Marie Curie, despite winning two Nobel Prizes in different sciences, was rejected by the French Academy and denied a Harvard honorary degree because "credit does not entirely belong to her." Rosalind Franklin was the most crucial figure in DNA's discovery, becoming the first human to see "the secret of life" through a photograph taken May 1, 1952. She used a camera she personally designed-featuring precise tilting capabilities, extreme close-range photography, and a special brass-and-rubber seal that allowed her to replace air with hydrogen around samples. The resulting image-labeled number 51-revealed DNA's double helix structure, resembling "a spiral staircase with no central support," clearly indicating how life reproduced through unwinding and replication. While Franklin worked diligently to verify her discovery, Maurice Wilkins showed her photograph to Watson and Crick without her knowledge or consent. The three men were subsequently awarded the Nobel Prize for her work, never acknowledging Franklin's contribution even after her death. The scientific recognition system remains rigged in favor of white men due to what Harriet Zuckerman discovered fifty years ago when interviewing Nobel laureates. These scientists admitted receiving disproportionate credit for group work, with one noting, "The world tends to give credit to already famous people." This phenomenon became known as the "Matthew effect" after Robert Merton named it-ironically demonstrating the very effect as Zuckerman's discovery became attributed to him despite his acknowledgment of her work. Robert Merton, who founded the "sociology of science," recognized that attributing sole credit to any individual is fundamentally flawed. Every creator inherits concepts, tools, methods, and principles from thousands of others-both contemporaries and predecessors. Creation is a vast community of connection where no one deserves excessive credit because everyone stands in tremendous debt.

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Capitolo 7

Technology's Unforeseen Consequences

William Cartwright's mill came under attack after midnight on April 12, 1812. The attackers-Luddites-smashed windows with sledgehammers called "Enochs" and fired pistols through the broken panes, attempting to destroy Cartwright's automatic loom. The Luddites weren't simply anti-technology but desperate workers fighting to preserve their livelihoods. They named their sledgehammers after Enoch Taylor, who ironically invented both the hammers and the looms they destroyed. Their story illustrates how technological and social revolutions collide with unforeseen consequences. While monarchs and aristocrats were already threatened by political revolutions in America and France, a new industrial capitalist class was emerging. Neither Luddites nor aristocrats could foresee that automation would eventually benefit the working class most while undermining aristocratic power. The Amish offer a real-world model for examining the relationship between creation and consequences. Contrary to popular belief, they don't reject technology outright. They generate electricity with solar panels, use LED lighting, operate gas-powered machines, make photocopies, refrigerate food, and use computers for word processing and spreadsheets. What they carefully avoid is technology that connects them to the non-Amish world. The Amish aren't practicing self-sufficiency or valuing manual labor for its own sake. They use tools that increase efficiency and convenience but thoughtfully examine how technology shapes their communities. Technology often brings unforeseen dangers. Lead in glass decanters caused gout in historical figures like Benjamin Franklin and may have contributed to the Roman Empire's fall through lead-poisoned emperors. As Amish leader Elmo Stoll notes, "new is neutral"-neither inherently good nor bad, but with complex consequences that affect different people differently. The Luddites who attacked William Cartwright's mill ironically owed their very profession to earlier automation. While early automation like fulling mills merely replaced physical labor, Cartwright's automated loom threatened to replace mental work by using punched cards to "think"-essentially creating the first programmable computer. The Luddites feared complete worker obsolescence, but the opposite occurred. Automation created demand for more sophisticated workers who could read, maintain machines, design improvements, and manage operations. This unexpected consequence transformed literacy rates dramatically: from one-third of Europeans in 1800 to nearly universal literacy by 1900. Public education expanded to meet industry's need for educated workers. The lesson is that creation's consequences are unpredictable but often beneficial in unexpected ways. The answer to technology's problems isn't less innovation but more-an "infinite and imperfect iteration" where new solutions create new problems that inspire further solutions.

Capitolo 8

The Fuel of Passion and the Poison of External Validation

In March 2002, Woody Allen made an unprecedented appearance at the Academy Awards despite having no nominations that year. Though he had won three Oscars and received seventeen other nominations, he had never before attended the ceremony. Allen's usual excuses for avoiding the Oscars mask his true concern: that awards would diminish his creative work. He considers the concept of awards "silly" and believes accepting positive judgments means also accepting negative ones. Psychologist Teresa Amabile's research validates Allen's position. In multiple experiments with collages and poetry writing, she found that people expecting evaluation produced significantly less creative work than those creating for their own sake. The evaluated groups reported more anxiety and less satisfaction with their work. The creative struggles of successful bands illustrate how external expectations can hamper creativity. In 1976, Fleetwood Mac recorded their album "Rumours" amid personal crises and relationship turmoil. Despite the chaotic recording process, the album became an unexpected masterpiece. However, their expensive follow-up "Tusk" failed to match this success. This pattern, known as "second album syndrome," reveals how success creates expectations that can stifle creativity. Fyodor Dostoyevsky lamented this pressure, describing writing to order as "hellish torture" compared to self-motivated work. Psychological research supports this view: Harry Harlow found that monkeys solved puzzles better without food rewards, and Teresa Amabile discovered that professional artists' commissioned works were consistently rated less creative than their self-motivated pieces. The legend of blues guitarist Robert Johnson making a deal with the Devil at a crossroads illustrates a profound creative truth: success requires total commitment. Though Johnson never literally sold his soul to Satan, after his wife's death in childbirth, he devoted himself completely to his music, playing the Delta blues for six years with such brilliance that he changed music forever before dying at age 27. This crossroads represents the moment in any creative life when one must commit fully to their craft, refusing all distractions. Writer's block isn't a neurological condition but a myth born from the false belief in the "aha moment"-if creation requires inspiration, then lack of inspiration blocks creation. Woody Allen disproves this through his extraordinary productivity: over 49 film scripts, 8 plays, and numerous other works in less than 60 years. Allen reveals two truths about creative work. First, use every moment: "I never like to let any time go unused." Second, intrinsic motivation is essential. Writer's block often stems from worrying about others' opinions. In the Mingan Mountains of the Philippines lived the Ilongots, an indigenous people once feared as headhunters. Anthropologist Michelle Rosaldo discovered their profound psychological framework built on two forces: beya (knowledge) and liget (passion). The Ilongots believe success comes from balancing these elements-passion with knowledge creates love and creation, while passion without knowledge leads to destruction. Unfulfilled passion creates a void between our present and potential that breeds destruction. When passion doesn't create, it destroys-manifesting as addiction, criminality, or despair.

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Capitolo 9

Building Creative Organizations and Cultures

In January 1944, test pilot Milo Burcham flew "Lulu Belle"-America's first fighter jet-to 502 mph across California's Mojave Desert. The Lockheed P-80 Shooting Star had been conceived just 143 days earlier in response to the terrifying discovery that Nazi Germany had developed the Messerschmitt Me 262, a jet fighter capable of 600 mph. The P-80's development was led by engineer Clarence "Kelly" Johnson, who created a secret lab dubbed the "Skonk Works" (later "Skunk Works") using old boxes and a circus tent. Kelly Johnson's first day at Lockheed in 1933 could have been his last when he boldly declared the company's new Model 10 Electra unstable-contradicting his own professor's wind tunnel report. Instead of firing the presumptuous 23-year-old recent graduate, chief engineer Hall Hibbard sent Johnson back to Michigan to prove his claim. This response exemplified intellectual security-the rare trait of seeking truth rather than ego validation. Frank Oznowicz, son of puppeteers who escaped the Nazis, met Jim Henson at a 1961 Puppetry Festival when he was just seventeen. Despite initially wanting to be a journalist, Frank was drawn to Henson's "absolutely fucking amazing puppets that were totally brand new and fresh." When preparing for Sesame Street, Henson and Oz (as Frank became known) created Ernie and Bert, characters who embodied their own contrasting personalities: Ernie the playful risk-taker like Henson, and Bert the careful, sensible one like Oz. Creative partnerships combine ordinary conversation with problem-solution loops-partners think aloud, identifying problems in each other's solutions and finding solutions to each other's problems. Trey Parker and Matt Stone, creators of South Park, demonstrate this dynamic in their six-day episode creation process. Their partnership isn't hierarchical but does have leadership-Parker typically directs the process while Stone refines and builds. Peter Skillman's "marshmallow challenge" reveals stark differences between children and adults. Kindergartners build towers averaging 27 inches, while business students manage only 10 inches. Children collaborate spontaneously, building multiple prototypes and discovering the marshmallow's weight early. Adults waste precious minutes on power struggles and planning, typically placing the marshmallow only once-at the final moment. Organizations aren't made of people-they're made of people interacting. Microsociology reveals that group decisions rarely follow rational steps. Instead, our interactions follow unwritten rules and cultural assumptions. Organizations consist of millions of these small ritual interactions, which ultimately determine creative output. Creation is doing, not saying. The most creative organizations prioritize action over talk and maintain high expectations about outcomes but remain flexible about methods.

Capitolo 10

Embracing Our Creative Birthright

Francis Galton, who explored Africa's Namib desert in 1850, returned to England with prejudices about the indigenous Himba people. After his half-cousin Charles Darwin published "The Origin of Species," Galton became obsessed with selective breeding in humans, coining the term "eugenics." His 1869 book "Hereditary Genius" proposed that intelligence was inherited and could be improved through selective breeding, primarily among "modern Europeans" whom he considered superior to other races. Despite his flawed reasoning, Galton's ideas were taken seriously, giving scientific veneer to prejudice and directly influencing 20th century atrocities including Nazi genocide. The true definition of creative genius comes from ancient Rome, where "genius" meant spirit or soul. Creating is our human nature, our purpose to leave improved art, science, and technology for future generations. We are all connected in a network of love and imagination, contributing to humanity's fabric. Though some intellectuals focus on human failings, we are fundamentally creative beings who build on others' work. Human population doubled between 1970 and 2010, with average lifespans increasing from 52 to 70 years. Our consumption of resources has grown dramatically. While these changes mean healthier, longer lives now, they portend future resource crises. Creation is our solution-more people means more creators, more connections, more tools, and more innovation. Population drives production. We overcome consumption challenges through creation. The chain of creation involves countless essential individuals making progress through personal choice. Necessity isn't the mother of invention-you are.

★★★★★

Hai raggiunto la fine di L'arte di inventare il cavallo alato

Amato da oltre 1 milione di persone

“Sono passati 23 giorni e l'ho usata ogni giorno. Ora fa parte della mia routine quotidiana.”

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Temi chiave in L'arte di inventare il cavallo alato

incremental innovation
democratizing creativity
iterative problem solving
myth of genius
history of invention

Citazioni da L'arte di inventare il cavallo alato

Creativity is not magic.
The truth is that creating is ordinary, not magical.
Creation is everyone's birthright.
The soul of creation isn't magic or genius-it's work.
The evolutionary niche of new belongs to all humans.

Personaggi di L'arte di inventare il cavallo alato

Kevin AshtonAuthor and inventor of the Internet of Things
Edmond AlbiusSlave boy who invented vanilla hand-pollination
Karl DunckerPsychologist who studied problem-solving mechanics
Robert WeisbergResearcher who studied incremental thinking steps

Sull'autore

Kevin Ashton, autore di How to Fly a Horse: The Secret History of Creation, Invention, and Discovery, è un visionario della tecnologia ed esperto di innovazione, noto per aver coniato il termine "Internet delle Cose".

Fondendo le intuizioni derivanti dal suo lavoro pionieristico presso l'Auto-ID Center del MIT — dove ha aperto la strada alla tecnologia RFID e sviluppato l'Electronic Product Code — con la sua esperienza come imprenditore seriale (Zensi, EnerNOC), Ashton esplora la creatività e l'ingegno umano in questo libro che sfida ogni genere letterario.

I suoi scritti, apparsi sul New York Times, The Atlantic e Quartz, distillano idee complesse in narrazioni accessibili. Relatore molto richiesto, ha condiviso le sue prospettive controcorrente in eventi come il PTC LiveWorx e ha influenzato le politiche tecnologiche globali.

How to Fly a Horse ha vinto il premio Business Book of the Year 2015 di 800-CEO-READ ed è stato celebrato per aver rimodellato il modo in cui le organizzazioni approcciano l'innovazione.

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@OojasSalunke

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@Cashflowbubu

"Instead of endless scrolling, I just hit play on BeFreed. It saves me so much time."

@Moemenn

"I never knew where to start with nonfiction—BeFreed’s book lists turned into podcasts gave me a clear path."

@Chloe, Solo founder, LA

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"Perfect balance between learning and entertainment. Finished ‘Thinking, Fast and Slow’ on my commute this week."

@Raaaaaachelw

"Crazy how much I learned while walking the dog. BeFreed = small habits → big gains."

@Matt, YC alum

108

"Reading used to feel like a chore. Now it’s just part of my lifestyle."

@Erin, Investment Banking Associate , NYC

254

"Feels effortless compared to reading. I’ve finished 6 books this month already."

@djmikemoore

"BeFreed turned my guilty doomscrolling into something that feels productive and inspiring."

@Pitiful

4.5K

"BeFreed turned my commute into learning time. 20-min podcasts are perfect for finishing books I never had time for."

@SofiaP

"BeFreed replaced my podcast queue. Imagine Spotify for books — that’s it. 🙌"

@Jaded_Falcon

201

"It is great for me to learn something from the book without reading it."

@OojasSalunke

"The themed book list podcasts help me connect ideas across authors—like a guided audio journey."

@Leo, Law Student, UPenn

483

"Makes me feel smarter every time before going to work"

@Cashflowbubu

"Instead of endless scrolling, I just hit play on BeFreed. It saves me so much time."

@Moemenn

"I never knew where to start with nonfiction—BeFreed’s book lists turned into podcasts gave me a clear path."

@Chloe, Solo founder, LA

117

"Perfect balance between learning and entertainment. Finished ‘Thinking, Fast and Slow’ on my commute this week."

@Raaaaaachelw

"Crazy how much I learned while walking the dog. BeFreed = small habits → big gains."

@Matt, YC alum

108

"Reading used to feel like a chore. Now it’s just part of my lifestyle."

@Erin, Investment Banking Associate , NYC

254

"Feels effortless compared to reading. I’ve finished 6 books this month already."

@djmikemoore

"BeFreed turned my guilty doomscrolling into something that feels productive and inspiring."

@Pitiful

4.5K

"BeFreed turned my commute into learning time. 20-min podcasts are perfect for finishing books I never had time for."

@SofiaP

"BeFreed replaced my podcast queue. Imagine Spotify for books — that’s it. 🙌"

@Jaded_Falcon

201

"It is great for me to learn something from the book without reading it."

@OojasSalunke

"The themed book list podcasts help me connect ideas across authors—like a guided audio journey."

@Leo, Law Student, UPenn

483

"Makes me feel smarter every time before going to work"

@Cashflowbubu

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Inizia il tuo percorso di apprendimento, ora

Capitolo 8

L'arte di inventare il cavallo alato

PanoramicaPanoramica di L'arte di inventare il cavallo alato

Un libro. Tanti modi per ascoltarlo.

The Myth of Magical Creation: How Innovation Really Works

Creation Is Everyone's Birthright

Vedi ogni parola mentre la ascolti

The Ordinary Steps of Extraordinary Innovation

Persistence Through Rejection and Adversity

Ottieni di più da L'arte di inventare il cavallo alato

How Perception Limits Discovery

The Hidden History of Scientific Credit

Vedi ogni parola mentre la ascolti

Technology's Unforeseen Consequences

The Fuel of Passion and the Poison of External Validation

Ottieni di più da L'arte di inventare il cavallo alato

Building Creative Organizations and Cultures

Embracing Our Creative Birthright

Hai raggiunto la fine di L'arte di inventare il cavallo alato

Temi chiave in L'arte di inventare il cavallo alato

Citazioni da L'arte di inventare il cavallo alato

Personaggi di L'arte di inventare il cavallo alato

Sull'autore

Scarica il riassunto di L'arte di inventare il cavallo alato

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FAQ su questo libro

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Scopri di più

1,000,000+ curious minds.

1,000,000+ curious minds.

Un libro. Tanti modi per ascoltarlo.

The Myth of Magical Creation: How Innovation Really Works

Creation Is Everyone's Birthright

Vedi ogni parola mentre la ascolti

The Ordinary Steps of Extraordinary Innovation

Persistence Through Rejection and Adversity

Ottieni di più da L'arte di inventare il cavallo alato

How Perception Limits Discovery

The Hidden History of Scientific Credit

Vedi ogni parola mentre la ascolti

Technology's Unforeseen Consequences

The Fuel of Passion and the Poison of External Validation

Ottieni di più da L'arte di inventare il cavallo alato

Building Creative Organizations and Cultures

Embracing Our Creative Birthright

Hai raggiunto la fine di L'arte di inventare il cavallo alato

Agli utenti è piaciuto anche

Scopri di più

Panoramica di L'arte di inventare il cavallo alato